Women Beware Women This Signature Reading Series Will Not Fail to Delight and Inspire Our Sunday, February 17, 2019 at 6:30Pm Audiences

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Women Beware Women This Signature Reading Series Will Not Fail to Delight and Inspire Our Sunday, February 17, 2019 at 6:30Pm Audiences

Classic Sundays Women Beware Women This signature reading series will not fail to delight and inspire our Sunday, February 17, 2019 at 6:30pm audiences. Join us to see great theater classics performed by our sterling ensemble in these performances that celebrate our Bianca is a young Venetian “from parents great in wealth” who elopes with the poor commitment to the exploration of great stories with enduring themes. Leantio, a Florentine. She soon draws the attention of the Duke of Florence, who attempts to woo her with the help of the widow Livia. Meanwhile, Livia’s brother is Upcoming Dates: tormented because he is in love with their niece. In a society where the worst excesses of unbridled desires reign, what will befall them all? March 17, 2019 June 16, 2019 Henry VI, Part 1 Measure for Measure Middleton was a collaborator of Shakespeare’s who wrote in a wide variety of genres by William Shakespeare by William Shakespeare Co-directed by Tony Amendola and who had his work performed on a greater variety of stages than anyone of the directed by Armin Shimerman & Armin Shimerman period. Women Beware Women is considered to be one of his masterpieces. April 21, 2019 July 21, 2019 Featuring: St. Joan The Duke: Mark Doerr* All’s Well that Ends Well by George Bernard Shaw The Cardinal: Daniel Blinkoﬀ* by William Shakespeare directed by Peter Van Norden Fabritio: Bo Foxworth* directed by Liza Seneca Hippolito: Seamus Dever* May 19, 2019 Guardiano: Adam J. Smith* The Lark August 18, 2019 The Ward: Kyle Anderson by Jean Anouilh Measure for Measure: Leantio: Peter Mendoza* directed by Gigi Bermingham A Shakespeare Jambalaya Sordido: Ian Littleworth* Coordinated by Tony Amendola Livia: Ann Noble* & Armin Shimerman Isabella: Kristin Couture Bianca: Ivy Beech Mother: Julia Fletcher* Servants, Gentlemen, Hymen: Sam Peurach Stage Directions: John Allee* Assistant Director: Julie Lanctot Stage Manager: Taylor Anne Cullen Songs: music by John Allee Classic Sundays Producer Gigi Bermingham *Member, Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States. This production is presented under the auspices of the Actors’ Equity Los Angeles Membership Company Rule. On Stage Now! Classic Sundays Women Beware Women by Thomas Middleton Adapted and Directed by John Allee Sunday, February 17, 2019 6:30pm Kiki & David Gindler Performing Arts Center 110 E Broadway Glendale CA 91205.

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Disordered Appetites: Female Flesh in the Works of Thomas Middleton
DISORDERED APPETITES: FEMALE FLESH IN THE WORKS OF THOMAS MIDDLETON A dissertation submitted by Gregory M. Schnitzspahn in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English TUFTS UNIVERSITY May 2015 Copyright © 2015 by Gregory M. Schnitzspahn Advisor: Judith Haber ii Abstract This dissertation contends that Thomas Middleton’s plays and poetry exploit an early modern psychocultural anxiety focused on the insubstantiality of symbolic or linguistic constructs. More specifically, Middleton’s works consistently examine the manipulability and immateriality of patriarchally prescribed female social identities––such as maid, wife, and widow––that are based entirely upon a woman’s sexual or marital relations with men. Employing principles drawn from psychoanalysis and ecofeminism, I argue that this Middletonian preoccupation bespeaks a more widespread uncertainty in the period about symbolic structures intended to control or contain female bodies and the natural world. My analysis of Thomas Middleton’s work therefore points to conceptual technologies that were emergent in the early modern period and which continue to exert influence in the present day. In the introduction, I describe my guiding principles and theoretical apparatus by reading the typically Middletonian complications of marital and sexual identity in two plays, The Witch and The Phoenix. Chapter One moves to a discussion of female virginity in The Changeling, Middleton’s famous collaboration with William Rowley, and argues that the play taps into cultural anxieties about the potential unreliability of symbolic technologies for controlling female bodies and appetites. Chapter Two examines Middleton’s early work, The Ghost of Lucrece, and contends that this poem’s plaintive ghost uses images of iii female corporeality as a rhetorical weapon, unleashing great floods of blood, milk, and tears that strain the written language of the poem itself.
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